Turners Etiquette, suggestions for handling others work?

[Jim Underwood]

The other night I was informed that I have been exposed to some very expensive work (appraised at $5,000-$6,000) created by other turners. I was surprised, but I suppose I should not be, because I know some very good turners.

A fellow turner told me an alarming story about one such piece. It was taken to a club meeting, (club name withheld) and handled carelessly by club members. Fortunately that particular piece was not damaged in that instance, and the owner/turner has been very protective of it ever since.

This being said, I am very impressed by the level of work here on this forum, and the professional way in which the critique thread, and consequent "sticky" on that subject was handled. I have not gone back and re-read the whole thread, but need to do it soon, as we have a topical demonstration coming up on that subject in the near future.

Since I was impressed by that, I would like to ask members of this forum to contribute to a similar subject, that of guidelines for handling others work.

My thoughts are to always keep in mind that by the time we usually see an object, it has been through the laborious process of harvesting, seasoning, designing/roughing, drying, finish turning, finish sanding (and sanding and sanding), applying the finish, and then finally buffing. The owner/turner is rightfully proud of his work, and deserves consideration if for nothing else but the time and effort expended.

Since one wants others to be able to handle and learn from ones work, one should keep in mind that it's always a risk to show your pieces in public. The day may come when a piece you're so proud of, is damaged. This is a problematic situation in my mind. Despite being philosophical about it, one will always be disappointed if this occurs.

Here are tentative guidelines that I've come up with:

Depending on the venue, please ask before handling an object. In some venues it's obvious that objects are not to be handled (ie. big sign in a gallery saying - Do Not Touch!). In a club's instant gallery it may be obvious that pieces can be handled or not. It may be best to ask.
If one is picking up a piece, be mindful of adjacent work, and be careful not to bump them as well as gently but firmly picking up the piece to be examined.
Do the same when placing it back in it's place.
When placing an object back, be mindful if it could be damaged by passersby. Do not place it next to a table edge, especially if it's a very delicate piece that could be knocked over or knocked off the table.
When passing an object to others, make sure they have it in hand before letting go.
If you are receiving and object from someone, especially if it's a small object, make sure you place your hand under it so they will be forced to put it down on your hand, preventing it from being dropped.
Please be careful of soft drinks, water, food, or anything else that may damage finishes when browsing the
instant gallery. (This is good advice for machines too. Never set this stuff on machined surfaces - they
rust!)Now some additional thoughts I've had are these...

If an object is extremely valuable, it behooves you to take pains to educate others that it is not to be handled lightly. Don't be shy about giving instructions, like "please use two hands to pick this up." If you do not want anyone to damage a piece, perhaps a request that it not be handled is in order. Most galleries I've visited are very clear that none of the exhibits are to be touched, much less handled.

Your thoughts?

[Mike Vickery]

Good list that we would hope to he common sense but sometimes are not.

One of the members of my club does large craved/pierced pieces that are very delicate work. I see them retailed at the Del Mano gallery for between $2,000 and $13,500. He puts a sign next to his work that says "Please do not handle". I have never heard anyone that was offended by this and most members I know are gratefull to be able to see them in person.

My point is if you bring a piece to the instant gallery you should expect that people will handle it, but you should be able to expect them to handle it carefully. If you want special handling of the item post it next to your work, I doubt anyone will be offended.

[Mack Cameron]

I have one word for handling other's work, unless invited to ..... Don't touch! Oh thats two words. My motto is never use one word when two will suffice.

[Richard Madison]

And obviously if you handle others' work, be sure your hands are clean and dry. Maybe too obvious to mention.

[Bernie Weishapl]

Great list Jim. I am like Mack though, unless invited I do not touch others work.

[Brian Myers]

This should go without saying when handling ANYTHING that is not yours.:rolleyes: Always better safe than sorry.

[Frank Kobilsek]

Jim,
I participated in my first out of my area juried art show in March. Indoor show but the wheather was bad that day and everybody had a coat on. I cringed as the zipper of thier open coats dragged on the edge of each piece the guests handled. No damage but I worried.

On the other hand when I do shows craft or art or other I always have a sign out that says Please Touch. People just gotta grope'em before they buy'em. Something sexy about how a well turned and finished piece of wood feels. (If I can be so presumptious to say my work is well turned and finished) I guess its a risk we need to take but your point of courtesy and care is well spoken. Misbehavoir like this at a club meeting needs to be adressed.

Frank

[Joe Melton]

My motto is never use one word when two will suffice.

Mack, you're an amateur.

My personal very own motto and credo is, and will be, never ever use or employ one singular word or phrase whenever two others will surely suffice.

Joe

[Jim Underwood]

Joe, you crack me up...:)

Thank you all for your comments. I'll be incorporating some of this information into my newsletter, and hopefully it will be helpful.

I don't know that any more can be said, but if anyone has anything more to contribute to this subject, please do so!

[Nancy Laird]

Jim, you might add one more thing to your "rules":

Please ask before you pick it up!

Nancy

[Neal Addy]

I recently took a couple of turnings to a local club meeting. Being turners, most folks there were very respectful of everyone's work. But during a break I did notice somebody standing near the "show-off" table with one of my lidded bowls in his hand. He was talking to a friend and absentmindedly twirling the lid of my piece around in it's recess as he talked. This went on for several minutes. I didn't say anything and he eventually put it down. Later I noticed a small (and purely cosmetic) ring in the bowl's finish from the lid being twisted in place.

I'm not upset about this because I know pieces are going to be handled at these meetings and you must be willing to accept a certain amount of risk. But it does raise a good point: If you are going to handle a turning then pay attention to what you are doing. Pick it up, study it, and put it back down for someone else to enjoy.

[Travis Stinson]

"If it looks fragile...........it IS!"
I took my AAW contest winning lidded box with a 2 piece inside-out finial to my club meeting. I was across the room talking with someone before the meeting started when I heard "it". The clattering and tinkling of Blackwood on the linoleum floor sounded like a fire alarm over the din of the room.:eek: I was afraid to go look. Whoever had dropped the lid had graciously put the broken piece inside the box. :rolleyes: Luckily, the top section of the finial had broken off at the glue line and I was able to reglue it with no problems. They've since started placing "No Touching" placards beside some pieces on request.

[thomas prevost]

One must remember that it is not necessary to climb the mountain to enjoys it beauty. Some things are best viewed from afar.

A sign I have often seen at outdoor craft fairs "Can you afford the item you have in your hand?"

[Malcolm Tibbetts]

Jim, good thread. The "obvious" is not always so obvious to everyone.

As part of my AAW responsibilities, I will be overseeing the Instant Gallery operation in Portland. In the past, there have always been a few tables with signs that read "Do Not Touch". This year, after stealing an idea from the Arizona symposium in Mesa, we are going to have a few tables with clear glass guards (like a sneeze guard at a buffet).

Every year at the symposium there seems to be one or two instances. I’ve seen people with backpacks bump into turnings. I’ve seen people in handicap scooters run into tables. I’ve even seen a teenager try to steal a piece.

Displaying super fragile work is always going to be risky; but I’m sure glad that most artists are willing to take the risk.

[Jim Becker]

I personally employ the "no touch"...or at least "no pick up" rule most of the time. The reason I add the later is that sometimes work displayed on a table is hard to view from various angles, so gentle manipulation is required to examine it. But if there is a sign that says, "hands off", the hands stay off. In that case, if you really want to get a closer look, find the owner/artist and ask for assistance...it's highly unlikely that they would refuse to talk to you about a piece and show you details. It's a great way to learn something, too.

Malcolm, I don't envy you with the Instant Gallery assignment! There is SO much incredible work on display...all of it "worth a lot"...but some of it worth serious money due to the reputation of the artist that created it.

[Pat Salter]

I treat every piece I pick as one of my own. I know how I want mine handled, I treat others likewise. I take photos of the instant gallery at our meeting and I try to be VVEEEERRRRRYYYYYY careful with each piece. It doesn't matter what I think of the piece. For many of us, if we didn't think it was good we wouldn't have brought it to the meeting.

Nice list by the by, may add this thread to our newsletter.

[Ken Fitzgerald]

I always ask permission and then treat it better than I would my own because it isn't!

[Jim Underwood]

Oh.. one other item I forgot to mention...

• Please be careful of soft drinks, water, food, or anything else that may damage finishes when browsing an instant gallery. (This is good advice for machines too. Never set this stuff on machined surfaces - they
rust!)

I'll put this in my original list in case anyone wants to copy it for future reference.

I've also added the "Ask Permission Clause" in first place. If you see any others I've missed, please let me know and I'll edit the list again.

[Joe Melton]

I think if you put an item on the "show and tell" table at a woodturners club meeting, it is implied that members can pick it up for inspection. It would be sort of insulting to put a note there not to touch. A note such as "Fragile!" would not be insulting, though.
At a show for the general public, on the other hand, I would definitely put up the note unless it was something that I wanted people to look closely at, like a box with an interesting interior. Some people are going to ignore the note, anyway, so there are always risks.
Joe

[Barry Stratton]

I was across the room talking with someone before the meeting started when I heard "it". The clattering and tinkling of Blackwood on the linoleum floor sounded like a fire alarm over the din of the room.:eek: I was afraid to go look. Whoever had dropped the lid had graciously put the broken piece inside the box. :rolleyes: Luckily, the top section of the finial had broken off at the glue line and I was able to reglue it with no problems. They've since started placing "No Touching" placards beside some pieces on request.

:eek: :eek: :eek: OUCH!!!!!!!!!! That emphasizes the whole point of this thread!

Nice avatar BTW;)

[Darcy Schaffer]

Maybe I see this a little differently than some but I think wooden bowls are among the most beautiful things on the planet. This beauty is not only visual though, it extends to how the wood feels in ones hands. I'm gratified when someone picks up a bowl I've created and I see them enjoying the feel as well as the look.

When I pick up a bowl belonging to someone else, I do so with care and respect, but I do like to feel the wood. If a bowl looks fragile, then I may only admire it from a distance but I really feel that the way a bowl "feels" is as important as how it looks.

Darcy